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Sfem Francisco FOGHORN'
VOL 67, NO. 12
UNIVERSITY OF SAN FRANCISCO
151
OCT. 20, 1972
USF hosts Latin Theatre Festival
From La Orgia, a Venezuelan drama written by Enrique
Buenaventura and directed by lldemara Mujico.
The first International
Latin American Theatre
Festival will be a unique
event in the United States.
For the first time 12 groups
representing nine Latin
American countries will perform 12 or more plays never
before seen among us.
There will also be an opportunity not only to witness the plays but also to
participate in forums which
will be held each morning
to discuss the plays performed the night before.
Following the forums,
conferences will be given by
special guest critics, directors and playwrights. An
event of this magnitude does
not need a long introduction
h3 the groups and special
guests will themselves show.
The Festival will take
place within the frame of
the Seventh Annual "Raza/
Hispanidad" Festival held
from October 12 through
December 12, 1972. The first
International Latin American Theatre Festival will be
held from October 23 to November 1, 1972, daily 8:30
p.m. at USF.
Sponsoring the Festival
are "Casa" fondo de Recur-
sos Culturales and USF's International House.
During the past few years
the growing intellectual and
artistic level in Latin-America has become evident. This
growth has awakened the
interest of the American
Blacks and Chicanos demand
independent activities budgets
By LOUIE CASTORIA
The Pan-African Students'
Union and La Raza Unida
obtained their own independent budgets and were
voted out of the Clubs'
Council, becoming departments of the Activities Council at Tuesday night's ASUSF Senate meeting following heated discussions of the
organizations.
Simba Ukali of the Pan-
African Students' Union
stood up and charged that
the Senate was just a "rubber stamp" for the Clubs'
Council, which he labelled
a "white organization." He
expressed dismay at the red
tape he has encountered in
the Activities Council bureaucracy.
"We want to judge ourselves," said Ukali. "Who
are they (the Clubs' Council members) to judge our
activities? We're not a club.
Clubs have thirty or forty
people. We have three hundred we represent. Telling
us how we use our money
is insulting to Black intelligence." He went on to characterise the Clubs' Council
and Piasta's veto as "racism," and encouraged the
Senate to override it "in the
interest of justice."
Piasta disagreed, saying
that "Clubs' Council" was
actually a misnomer, and
that other types of organizations belonged in its structure.
In an emotional outburst
ASUSF General Counsel Bill
Sable stated that he was
"pissed off by these indictments of racism," and counter-charged that Ukali didn't
even know the people in
Clubs' Council.
Diana Hill of the PASU
retaliated, enraged that Sable was unaccustomed to being confronted with the fact
that he was racist. "You're
only pissed off because you
are hearing the truth," she
cried.
Senate President Paul
Gaspari barely managed to
bring the meeting to order.
He declared the discussion
out of order, and urged the
Senators to return to the
question of Piasta's veto.
Ukali rose again to strongly state that the entire society was involved in the
issue. He repeated his demand for a separate budget,
and called attention to the
fact that organizations which
he labelled "for white peo
ple" have their own independent budgets. He said
the Senate's composition was
"racist," charged the Senate
with "tokenism," and termed Piasta's veto a "Nixonite
racist type of action."
La Raza and the PASU
were united in the effort to
gain separate funding, and
La Raza spokesman, Gary
Losada, demanded that his
organization be treated
equally with the PASU.
"We're not a club," said
Losada. He stated that the
Senate was playing games,
referring to having to deal
with the Clubs' Council, and
said he was tired of playing
along with those games.
"We need money because
we give it to poor people,"
said Losada. "We're not here
to have you teach us how to
make tacos and enchiladas.
We know how. We're here
to teach you!" referring to
the educative function of
the Semana de la Raza.
Piasta returned to the
subject of his veto, and encouraged the Senate to uphold it on the grounds that
it would "unfreeze" Clubs'
Council monies and make
them available to other organizations. When the vote
—Continued on Page 7
people evidenced by the
many new departments and
projects that have flourished
in the various universities
and colleges throughout the
United States.
The presence of several
Latin American theatre
groups in this country has
helped create a new vigor
in the theatrical activity related to our neighboring nations.
In San Francisco, some
groups have been paving the
way for the realization of a
theatre Festival with interesting work in Latin American plays presented to the
people of the area.
"Club Amigos del Teatro,"
"Escuela de Teatro," "Teatro de Casa," are three of
these young groups who are
fomenting the Latin American culture through the theatre.
Some time back, an Argentine theatre group arrived in San Francisco: "Teatro del Hambre," from Cordoba. Their presence in this
area helped show the contrast that exists between the
Latin American theatrical
reality and the one evidenced here. The necessity to
communicate the different
aesthetic approaches of
South America in the United
States appeared, consequently, the idea of the Festival was born.
In order to establish direct contacts with the groups
in that area, Amilcar Lobos
—President of "Casa Fondo
de Recursos Culturales" —
traveled to Central America.
With the same idea in mind,
Dr. Domingo Lo Giudice —
Director of "Teatro del
Hambre" and Director of
the Festival, together with
Osvaldo Villazon, representative from "Casa Fondo de
Recursos Culturales," and
Marina Pianca, co-chairman
of seminars and workshops,
traveled to Quito, Ecuador,
to participate in the First
Theatre Festival in that city.
From Quito, they moved to
Manizales, Colombia, the
center of another important
Theatre Festival. In Manizales, they spoke with the
Director of the Festival
there, receiving further information and contacts with
the most representative
groups in Latin America at
present.
Later, Marina Pianca
passed through Mexico to
continue the tour. Throughout the tour, the idea of a
Latin American Theatre Festival in San Francisco received an enthusiastic and
warm response. Authors, actors and directors looked
forward to this unique possibility of presenting their
work in the United States.
All these people have received invitations to the Festival and we will have the
opportunity to see their
work and discuss it with
them between October 23
and November 1.
The selection of the
groups and individuals that
will participate in the First
International Latin American Theatre Festival was
based on three main points:
1) The authentic presentation of the reality of their
country through their work,
keeping in mind the original
idea that Latin America is
not one reality but many.
2) The limitations that the
financial problems of transportation to the United
States can impose on the
groups.
3) The ability of the group
to present one of the various
aesthetic approaches present in Latin America today.
4) The visual and musical
quality which makes the
productions less dependent
on Verbal language.
The objectives of the
First International Latin
—Continued on Page 5
ASUSF discusses proposals to recognize PASU and La
Raza as Activities and not Clubs. The voting went 1 lto 4
in favor of Ukali and Losada's/equest.

Sfem Francisco FOGHORN'
VOL 67, NO. 12
UNIVERSITY OF SAN FRANCISCO
151
OCT. 20, 1972
USF hosts Latin Theatre Festival
From La Orgia, a Venezuelan drama written by Enrique
Buenaventura and directed by lldemara Mujico.
The first International
Latin American Theatre
Festival will be a unique
event in the United States.
For the first time 12 groups
representing nine Latin
American countries will perform 12 or more plays never
before seen among us.
There will also be an opportunity not only to witness the plays but also to
participate in forums which
will be held each morning
to discuss the plays performed the night before.
Following the forums,
conferences will be given by
special guest critics, directors and playwrights. An
event of this magnitude does
not need a long introduction
h3 the groups and special
guests will themselves show.
The Festival will take
place within the frame of
the Seventh Annual "Raza/
Hispanidad" Festival held
from October 12 through
December 12, 1972. The first
International Latin American Theatre Festival will be
held from October 23 to November 1, 1972, daily 8:30
p.m. at USF.
Sponsoring the Festival
are "Casa" fondo de Recur-
sos Culturales and USF's International House.
During the past few years
the growing intellectual and
artistic level in Latin-America has become evident. This
growth has awakened the
interest of the American
Blacks and Chicanos demand
independent activities budgets
By LOUIE CASTORIA
The Pan-African Students'
Union and La Raza Unida
obtained their own independent budgets and were
voted out of the Clubs'
Council, becoming departments of the Activities Council at Tuesday night's ASUSF Senate meeting following heated discussions of the
organizations.
Simba Ukali of the Pan-
African Students' Union
stood up and charged that
the Senate was just a "rubber stamp" for the Clubs'
Council, which he labelled
a "white organization." He
expressed dismay at the red
tape he has encountered in
the Activities Council bureaucracy.
"We want to judge ourselves," said Ukali. "Who
are they (the Clubs' Council members) to judge our
activities? We're not a club.
Clubs have thirty or forty
people. We have three hundred we represent. Telling
us how we use our money
is insulting to Black intelligence." He went on to characterise the Clubs' Council
and Piasta's veto as "racism," and encouraged the
Senate to override it "in the
interest of justice."
Piasta disagreed, saying
that "Clubs' Council" was
actually a misnomer, and
that other types of organizations belonged in its structure.
In an emotional outburst
ASUSF General Counsel Bill
Sable stated that he was
"pissed off by these indictments of racism," and counter-charged that Ukali didn't
even know the people in
Clubs' Council.
Diana Hill of the PASU
retaliated, enraged that Sable was unaccustomed to being confronted with the fact
that he was racist. "You're
only pissed off because you
are hearing the truth," she
cried.
Senate President Paul
Gaspari barely managed to
bring the meeting to order.
He declared the discussion
out of order, and urged the
Senators to return to the
question of Piasta's veto.
Ukali rose again to strongly state that the entire society was involved in the
issue. He repeated his demand for a separate budget,
and called attention to the
fact that organizations which
he labelled "for white peo
ple" have their own independent budgets. He said
the Senate's composition was
"racist," charged the Senate
with "tokenism," and termed Piasta's veto a "Nixonite
racist type of action."
La Raza and the PASU
were united in the effort to
gain separate funding, and
La Raza spokesman, Gary
Losada, demanded that his
organization be treated
equally with the PASU.
"We're not a club," said
Losada. He stated that the
Senate was playing games,
referring to having to deal
with the Clubs' Council, and
said he was tired of playing
along with those games.
"We need money because
we give it to poor people,"
said Losada. "We're not here
to have you teach us how to
make tacos and enchiladas.
We know how. We're here
to teach you!" referring to
the educative function of
the Semana de la Raza.
Piasta returned to the
subject of his veto, and encouraged the Senate to uphold it on the grounds that
it would "unfreeze" Clubs'
Council monies and make
them available to other organizations. When the vote
—Continued on Page 7
people evidenced by the
many new departments and
projects that have flourished
in the various universities
and colleges throughout the
United States.
The presence of several
Latin American theatre
groups in this country has
helped create a new vigor
in the theatrical activity related to our neighboring nations.
In San Francisco, some
groups have been paving the
way for the realization of a
theatre Festival with interesting work in Latin American plays presented to the
people of the area.
"Club Amigos del Teatro,"
"Escuela de Teatro," "Teatro de Casa," are three of
these young groups who are
fomenting the Latin American culture through the theatre.
Some time back, an Argentine theatre group arrived in San Francisco: "Teatro del Hambre," from Cordoba. Their presence in this
area helped show the contrast that exists between the
Latin American theatrical
reality and the one evidenced here. The necessity to
communicate the different
aesthetic approaches of
South America in the United
States appeared, consequently, the idea of the Festival was born.
In order to establish direct contacts with the groups
in that area, Amilcar Lobos
—President of "Casa Fondo
de Recursos Culturales" —
traveled to Central America.
With the same idea in mind,
Dr. Domingo Lo Giudice —
Director of "Teatro del
Hambre" and Director of
the Festival, together with
Osvaldo Villazon, representative from "Casa Fondo de
Recursos Culturales," and
Marina Pianca, co-chairman
of seminars and workshops,
traveled to Quito, Ecuador,
to participate in the First
Theatre Festival in that city.
From Quito, they moved to
Manizales, Colombia, the
center of another important
Theatre Festival. In Manizales, they spoke with the
Director of the Festival
there, receiving further information and contacts with
the most representative
groups in Latin America at
present.
Later, Marina Pianca
passed through Mexico to
continue the tour. Throughout the tour, the idea of a
Latin American Theatre Festival in San Francisco received an enthusiastic and
warm response. Authors, actors and directors looked
forward to this unique possibility of presenting their
work in the United States.
All these people have received invitations to the Festival and we will have the
opportunity to see their
work and discuss it with
them between October 23
and November 1.
The selection of the
groups and individuals that
will participate in the First
International Latin American Theatre Festival was
based on three main points:
1) The authentic presentation of the reality of their
country through their work,
keeping in mind the original
idea that Latin America is
not one reality but many.
2) The limitations that the
financial problems of transportation to the United
States can impose on the
groups.
3) The ability of the group
to present one of the various
aesthetic approaches present in Latin America today.
4) The visual and musical
quality which makes the
productions less dependent
on Verbal language.
The objectives of the
First International Latin
—Continued on Page 5
ASUSF discusses proposals to recognize PASU and La
Raza as Activities and not Clubs. The voting went 1 lto 4
in favor of Ukali and Losada's/equest.